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We are excited to invite you to the opening of IMAGINE A DEAD BLUE WHALE INSIDE THE POCKET OF A GIANT
21.3 | 4-8pm

A group exhibition of 9 Italian and HK artists, curated by Giulia Pollicita and Eunice Tsang

Tap Chan, Adele Dipasquale, Roberto Fassone, Adam Harrison, Ocean Leung, Jennie MaryTai Liu, Simon Liu,
Michela de Mattei, Sara Ravelli

When speech is mistranslated, restricted, or simply fails, what other alphabets remain? Between Italy and Hong Kong—where languages, histories, and governing systems diverge—our exhibition proposes play as a shared, subversive alphabet.

Neither innocent nor trivial, play here becomes a strategic act. The artists turn to games, glitches, and improvised rules to articulate what cannot be said. Within their worlds, prevailing rules are suspended, roles dissolve, and hierarchies are reconfigured. Between docility and insubordination, play emerges as a magical gesture: an agent of both disorder and reorder.

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

Art Worlds episode 46 is with Eunice Tsang, a curator who puts community-building at the centre of her practice. Working in Hong Kong, she initiated M+ museum’s Asian Avant-Garde Film Festival @aagff.mplus alongside curating the Live Art programme and at Tai Kwun she began the Asian Artist Book Library.

In 2020, she founded Current Plans @currentplans , a not for profit art space which is playfully multidisciplinary. The industrial space has seen performance parties, communal cooking events and hosts artists in residence.

Eunice spoke to me from Milan, where she had just finished a special project at Paris Internationale @aaaahhhparisinternationale .

To listen, find the link in my bio.

For more about Current Plans:

@oscarvenhuis , ‘The Last Supper podcast episode 48’@thelastsupper.asia

@elainewng , ‘Wong Chuk Hang is Hong Kong’s hot new art quarter’ @financialtimes

@artbasel , ‘Learning from the new wave: charting alternative futures for art in Hong Kong’, @youtube

Image:
Installation shot from ‘Fancy Creatures: The Art of the Wig’, 2023

Art Worlds episode 46 is with Eunice Tsang, a curator who puts community-building at the centre of her practice. Working in Hong Kong, she initiated M+ museum’s Asian Avant-Garde Film Festival @aagff.mplus alongside curating the Live Art programme and at Tai Kwun she began the Asian Artist Book Library.

In 2020, she founded Current Plans @currentplans , a not for profit art space which is playfully multidisciplinary. The industrial space has seen performance parties, communal cooking events and hosts artists in residence.

Eunice spoke to me from Milan, where she had just finished a special project at Paris Internationale @aaaahhhparisinternationale .

To listen, find the link in my bio.

For more about Current Plans:

@oscarvenhuis , ‘The Last Supper podcast episode 48’@thelastsupper.asia

@elainewng , ‘Wong Chuk Hang is Hong Kong’s hot new art quarter’ @financialtimes

@artbasel , ‘Learning from the new wave: charting alternative futures for art in Hong Kong’, @youtube

Image:
Installation shot from ‘Fancy Creatures: The Art of the Wig’, 2023

Turbulence Field (2025) by Tap Chan is a luminous sculpture in which a hawk feather is delicately suspended, held in equilibrium by an almost invisible filament. Across its surface, fragments of shell, bamboo dust, and other materials coalesce into a constellation of elements set against a dark ground, generating a sense of depth and estrangement.

The feather, poised in suspension, responds subtly to the movement of viewers passing through the exhibition space. A field of turbulence continuously alters the balance within the work. The internal logic governing the sculpture’s architecture evokes the structural dynamics of a game.

Its spatial configuration—both autonomous and immersed within the exhibition environment—resonates with early European Surrealism, recalling works such as The Palace at 4 a.m. (1932) by Alberto Giacometti, as well as the filiform constructions of Fausto Melotti (1901–1986). Structured like theatrical stages or game tables, these works establish a poetic plane that is at once simultaneous with, yet distinct from, the dimension of lived reality.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Turbulence Field (2025) by Tap Chan is a luminous sculpture in which a hawk feather is delicately suspended, held in equilibrium by an almost invisible filament. Across its surface, fragments of shell, bamboo dust, and other materials coalesce into a constellation of elements set against a dark ground, generating a sense of depth and estrangement.

The feather, poised in suspension, responds subtly to the movement of viewers passing through the exhibition space. A field of turbulence continuously alters the balance within the work. The internal logic governing the sculpture’s architecture evokes the structural dynamics of a game.

Its spatial configuration—both autonomous and immersed within the exhibition environment—resonates with early European Surrealism, recalling works such as The Palace at 4 a.m. (1932) by Alberto Giacometti, as well as the filiform constructions of Fausto Melotti (1901–1986). Structured like theatrical stages or game tables, these works establish a poetic plane that is at once simultaneous with, yet distinct from, the dimension of lived reality.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Turbulence Field (2025) by Tap Chan is a luminous sculpture in which a hawk feather is delicately suspended, held in equilibrium by an almost invisible filament. Across its surface, fragments of shell, bamboo dust, and other materials coalesce into a constellation of elements set against a dark ground, generating a sense of depth and estrangement.

The feather, poised in suspension, responds subtly to the movement of viewers passing through the exhibition space. A field of turbulence continuously alters the balance within the work. The internal logic governing the sculpture’s architecture evokes the structural dynamics of a game.

Its spatial configuration—both autonomous and immersed within the exhibition environment—resonates with early European Surrealism, recalling works such as The Palace at 4 a.m. (1932) by Alberto Giacometti, as well as the filiform constructions of Fausto Melotti (1901–1986). Structured like theatrical stages or game tables, these works establish a poetic plane that is at once simultaneous with, yet distinct from, the dimension of lived reality.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Questions of control, social anxiety, and agency are central to the works by Sara Ravelli (Crema, Italy, 1993). The Atmosphere #3, #4, and #5 are three pairs of kinetic eyes by Ravelli that nervously scan their surroundings, glancing at one another and cautiously at the viewers.

By marking time, they construct a game of gazes and deferrals that evokes a sense of subterfuge, withdrawal, control, and coercion. The gaze is everything in play. One looks to one’s accomplice, seeking reassurance—an unspoken signal that an ace is still held in reserve—and one studies the opponent, attempting to discern strategy through the slightest expression.

The gaze is essential among allies within the game, yet equally so among adversaries. It becomes even more decisive in moments of deception, when the integrity of the game’s rules is breached and the boundary between play and reality is subtly, deliberately undone.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

This vertical sculpture by Tap Chan stages an encounter between natural and urban systems, assembling its structure through modular elements derived from construction “spacer bars,” typically used to reinforce concrete foundations. Stacked in rhythmic succession, these units evoke the vertical expansion of skyscrapers while simultaneously recalling the cellular logic of beehives—architectures shaped by repetition, cooperation, and an underlying promise of order.

Incorporating organic beeswax—the very substance through which bees produce their habitats—the work binds together the artificial and the organic, the engineered and the instinctual. The verticality that once promised elevation becomes stratification; the cooperative model risks turning into rigid hierarchy.

What begins as a speculative, rule-based projection of possibility—whether in architecture, ecology, or the logic of the game—ultimately reveals its fragility. In this slippage from utopia to its betrayal, the work exposes the tension (and fragility) between ideal structures and the unpredictable forces that affect them.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

This vertical sculpture by Tap Chan stages an encounter between natural and urban systems, assembling its structure through modular elements derived from construction “spacer bars,” typically used to reinforce concrete foundations. Stacked in rhythmic succession, these units evoke the vertical expansion of skyscrapers while simultaneously recalling the cellular logic of beehives—architectures shaped by repetition, cooperation, and an underlying promise of order.

Incorporating organic beeswax—the very substance through which bees produce their habitats—the work binds together the artificial and the organic, the engineered and the instinctual. The verticality that once promised elevation becomes stratification; the cooperative model risks turning into rigid hierarchy.

What begins as a speculative, rule-based projection of possibility—whether in architecture, ecology, or the logic of the game—ultimately reveals its fragility. In this slippage from utopia to its betrayal, the work exposes the tension (and fragility) between ideal structures and the unpredictable forces that affect them.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

This vertical sculpture by Tap Chan stages an encounter between natural and urban systems, assembling its structure through modular elements derived from construction “spacer bars,” typically used to reinforce concrete foundations. Stacked in rhythmic succession, these units evoke the vertical expansion of skyscrapers while simultaneously recalling the cellular logic of beehives—architectures shaped by repetition, cooperation, and an underlying promise of order.

Incorporating organic beeswax—the very substance through which bees produce their habitats—the work binds together the artificial and the organic, the engineered and the instinctual. The verticality that once promised elevation becomes stratification; the cooperative model risks turning into rigid hierarchy.

What begins as a speculative, rule-based projection of possibility—whether in architecture, ecology, or the logic of the game—ultimately reveals its fragility. In this slippage from utopia to its betrayal, the work exposes the tension (and fragility) between ideal structures and the unpredictable forces that affect them.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Handsightings (40-83/756) (2026) by Michela De Mattei (Rome, Italy, 1984) is a series of drawing-based interventions produced by scratching away a darkened patina from photographs.

Much like a scratch card, the artist samples found images — sourced from the depths of the web and from communities of enthusiasts and “believers” — depicting alleged sightings of the Thylacine (also known as the Tasmanian tiger).

Returning to the act of searching and finding implicit in her own method, de Mattei stages the hunt for the tiger within these images, metaphorically encapsulating the game of artistic creation itself: the pursuit (and, after numerous attempts, the possible discovery) of an uncertain, perhaps nonexistent, artistic fulfillment.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Adele Dipasquale (Turin, Italy, 1994) identifies linguistic play as a subversive potential against the control of self-expression and communication. In the video installation Lose Voice Toolkit (2023–2025), children’s linguistic play opens up a space of freedom within the conventions and norms imposed by adult life, which by extension become those of society at large.

Installed at the center of the exhibition space, the work invites viewers to enter a children’s tent. By recreating an environment analogous to that of childhood play, the tent becomes a concrete experience of game that, on a symbolic level, articulates a refusal of coercion and the normative force of social conventions.

A group of children in the video narrate a story using a language composed of an invented alphabet. By elevating the individual to a shared experience, language becomes an identitarian and political arena where the political is performed and individual expression negotiated.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Roberto Fassone (Savigliano, Italy, 1986) similarly engages in a frequent short-circuiting of transparency and communicative protocols within institutional and exhibitionary spaces. In response to socio-political coercion, Fassone’s intervention enacts the creation of possible worlds through poetry, language, and imaginative action.

Operating through the complicity of the viewer, A Wind of Thoughts (2026) is an environmental installation that exists only through the implicit acceptance of a contract between artist and visitors. Through invitations such as Imagine a kid throwing confettis some meters behind you every time you meet someone you like, the work weaves poetic composition with sonic experience, emitting a soundtrack that accompanies visitors throughout the exhibition space.

Breaking the boundaries of the game’s field, Fassone’s installation of fluttering sheets of paper spills onto the walls and floor of Current Plans.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Roberto Fassone (Savigliano, Italy, 1986) similarly engages in a frequent short-circuiting of transparency and communicative protocols within institutional and exhibitionary spaces. In response to socio-political coercion, Fassone’s intervention enacts the creation of possible worlds through poetry, language, and imaginative action.

Operating through the complicity of the viewer, A Wind of Thoughts (2026) is an environmental installation that exists only through the implicit acceptance of a contract between artist and visitors. Through invitations such as Imagine a kid throwing confettis some meters behind you every time you meet someone you like, the work weaves poetic composition with sonic experience, emitting a soundtrack that accompanies visitors throughout the exhibition space.

Breaking the boundaries of the game’s field, Fassone’s installation of fluttering sheets of paper spills onto the walls and floor of Current Plans.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Roberto Fassone (Savigliano, Italy, 1986) similarly engages in a frequent short-circuiting of transparency and communicative protocols within institutional and exhibitionary spaces. In response to socio-political coercion, Fassone’s intervention enacts the creation of possible worlds through poetry, language, and imaginative action.

Operating through the complicity of the viewer, A Wind of Thoughts (2026) is an environmental installation that exists only through the implicit acceptance of a contract between artist and visitors. Through invitations such as Imagine a kid throwing confettis some meters behind you every time you meet someone you like, the work weaves poetic composition with sonic experience, emitting a soundtrack that accompanies visitors throughout the exhibition space.

Breaking the boundaries of the game’s field, Fassone’s installation of fluttering sheets of paper spills onto the walls and floor of Current Plans.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Roberto Fassone (Savigliano, Italy, 1986) similarly engages in a frequent short-circuiting of transparency and communicative protocols within institutional and exhibitionary spaces. In response to socio-political coercion, Fassone’s intervention enacts the creation of possible worlds through poetry, language, and imaginative action.

Operating through the complicity of the viewer, A Wind of Thoughts (2026) is an environmental installation that exists only through the implicit acceptance of a contract between artist and visitors. Through invitations such as Imagine a kid throwing confettis some meters behind you every time you meet someone you like, the work weaves poetic composition with sonic experience, emitting a soundtrack that accompanies visitors throughout the exhibition space.

Breaking the boundaries of the game’s field, Fassone’s installation of fluttering sheets of paper spills onto the walls and floor of Current Plans.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Roberto Fassone (Savigliano, Italy, 1986) similarly engages in a frequent short-circuiting of transparency and communicative protocols within institutional and exhibitionary spaces. In response to socio-political coercion, Fassone’s intervention enacts the creation of possible worlds through poetry, language, and imaginative action.

Operating through the complicity of the viewer, A Wind of Thoughts (2026) is an environmental installation that exists only through the implicit acceptance of a contract between artist and visitors. Through invitations such as Imagine a kid throwing confettis some meters behind you every time you meet someone you like, the work weaves poetic composition with sonic experience, emitting a soundtrack that accompanies visitors throughout the exhibition space.

Breaking the boundaries of the game’s field, Fassone’s installation of fluttering sheets of paper spills onto the walls and floor of Current Plans.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Roberto Fassone (Savigliano, Italy, 1986) similarly engages in a frequent short-circuiting of transparency and communicative protocols within institutional and exhibitionary spaces. In response to socio-political coercion, Fassone’s intervention enacts the creation of possible worlds through poetry, language, and imaginative action.

Operating through the complicity of the viewer, A Wind of Thoughts (2026) is an environmental installation that exists only through the implicit acceptance of a contract between artist and visitors. Through invitations such as Imagine a kid throwing confettis some meters behind you every time you meet someone you like, the work weaves poetic composition with sonic experience, emitting a soundtrack that accompanies visitors throughout the exhibition space.

Breaking the boundaries of the game’s field, Fassone’s installation of fluttering sheets of paper spills onto the walls and floor of Current Plans.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

Current Plans, Hong Kong is presenting Ying Bo

@currentplans
@thy_lab_

Current Plans is a Hong Kong-based independent art space and registered charity founded by Eunice Tsang in 2020. It serves as a testing ground for contemporary art projects that cross disciplinary boundaries and challenge traditional exhibition-making. The platform bridges the gap between local and international practitioners through a program rooted in communal exchange and experimental research. Moving beyond the conventional gallery format, Current Plans hosts a diverse range of activities—including artist residencies, experimental gigs, and culinary sessions—to foster a universe of collisions where playfulness and social interaction are central to the creative process. By prioritizing knowledge exchange and nimble operations, the space sustains a resilient ecosystem for artistic experimentation in Hong Kong.

💥1st Edition💥
Paris Internationale Milano
April 18-21, 2026
Preview April 17
Via Fabio Filzi, 25r, Milan

#parisinternationale #parisinternationalemilano #currentplans #artfair

Current Plans, Hong Kong is presenting Ying Bo

@currentplans
@thy_lab_

Current Plans is a Hong Kong-based independent art space and registered charity founded by Eunice Tsang in 2020. It serves as a testing ground for contemporary art projects that cross disciplinary boundaries and challenge traditional exhibition-making. The platform bridges the gap between local and international practitioners through a program rooted in communal exchange and experimental research. Moving beyond the conventional gallery format, Current Plans hosts a diverse range of activities—including artist residencies, experimental gigs, and culinary sessions—to foster a universe of collisions where playfulness and social interaction are central to the creative process. By prioritizing knowledge exchange and nimble operations, the space sustains a resilient ecosystem for artistic experimentation in Hong Kong.

💥1st Edition💥
Paris Internationale Milano
April 18-21, 2026
Preview April 17
Via Fabio Filzi, 25r, Milan

#parisinternationale #parisinternationalemilano #currentplans #artfair

Current Plans, Hong Kong is presenting Ying Bo

@currentplans
@thy_lab_

Current Plans is a Hong Kong-based independent art space and registered charity founded by Eunice Tsang in 2020. It serves as a testing ground for contemporary art projects that cross disciplinary boundaries and challenge traditional exhibition-making. The platform bridges the gap between local and international practitioners through a program rooted in communal exchange and experimental research. Moving beyond the conventional gallery format, Current Plans hosts a diverse range of activities—including artist residencies, experimental gigs, and culinary sessions—to foster a universe of collisions where playfulness and social interaction are central to the creative process. By prioritizing knowledge exchange and nimble operations, the space sustains a resilient ecosystem for artistic experimentation in Hong Kong.

💥1st Edition💥
Paris Internationale Milano
April 18-21, 2026
Preview April 17
Via Fabio Filzi, 25r, Milan

#parisinternationale #parisinternationalemilano #currentplans #artfair

Current Plans, Hong Kong is presenting Ying Bo

@currentplans
@thy_lab_

Current Plans is a Hong Kong-based independent art space and registered charity founded by Eunice Tsang in 2020. It serves as a testing ground for contemporary art projects that cross disciplinary boundaries and challenge traditional exhibition-making. The platform bridges the gap between local and international practitioners through a program rooted in communal exchange and experimental research. Moving beyond the conventional gallery format, Current Plans hosts a diverse range of activities—including artist residencies, experimental gigs, and culinary sessions—to foster a universe of collisions where playfulness and social interaction are central to the creative process. By prioritizing knowledge exchange and nimble operations, the space sustains a resilient ecosystem for artistic experimentation in Hong Kong.

💥1st Edition💥
Paris Internationale Milano
April 18-21, 2026
Preview April 17
Via Fabio Filzi, 25r, Milan

#parisinternationale #parisinternationalemilano #currentplans #artfair

Current Plans, Hong Kong is presenting Ying Bo

@currentplans
@thy_lab_

Current Plans is a Hong Kong-based independent art space and registered charity founded by Eunice Tsang in 2020. It serves as a testing ground for contemporary art projects that cross disciplinary boundaries and challenge traditional exhibition-making. The platform bridges the gap between local and international practitioners through a program rooted in communal exchange and experimental research. Moving beyond the conventional gallery format, Current Plans hosts a diverse range of activities—including artist residencies, experimental gigs, and culinary sessions—to foster a universe of collisions where playfulness and social interaction are central to the creative process. By prioritizing knowledge exchange and nimble operations, the space sustains a resilient ecosystem for artistic experimentation in Hong Kong.

💥1st Edition💥
Paris Internationale Milano
April 18-21, 2026
Preview April 17
Via Fabio Filzi, 25r, Milan

#parisinternationale #parisinternationalemilano #currentplans #artfair

Tyler Coburn returns with new plans!

🌹 29.4.2026
⌚ 7:30pm
🔗 RSVP link in bio

Join us for the release of ‘Some Monologues’, a publication that gathers fifteen years of the artist’s scripts (Wendy’s Subway, 2025). Coburn will presents a new monologue entitled 'People that draws influence from A Personal History of American Theatre (1980)', a one-person performance by the American actor and writer Spalding Gray (1941–2004).

Moving through a set of index cards bearing the names of plays he acted in, Gray told stories related to those productions, dwelling on events unfolding behind the scenes. As the order of the index cards was random, no two performances were ever the same.

In Coburn’s version, each of his cards indicates the name of a person who has a role in the book: an academic he interviewed for a project, an amorous attendee to one of his monologues, his collaborator Susan Bennett (the original voice actress of Siri), a data center employee who insulted him, and more. 'People' brings focus to Coburn's many collaborators and the monologues they helped create.

After performing 'People', Coburn is joined in conversation by Hong Kong based curator and writer Ingrid Pui Yee Chu.

Tyler Coburn returns with new plans!

🌹 29.4.2026
⌚ 7:30pm
🔗 RSVP link in bio

Join us for the release of ‘Some Monologues’, a publication that gathers fifteen years of the artist’s scripts (Wendy’s Subway, 2025). Coburn will presents a new monologue entitled 'People that draws influence from A Personal History of American Theatre (1980)', a one-person performance by the American actor and writer Spalding Gray (1941–2004).

Moving through a set of index cards bearing the names of plays he acted in, Gray told stories related to those productions, dwelling on events unfolding behind the scenes. As the order of the index cards was random, no two performances were ever the same.

In Coburn’s version, each of his cards indicates the name of a person who has a role in the book: an academic he interviewed for a project, an amorous attendee to one of his monologues, his collaborator Susan Bennett (the original voice actress of Siri), a data center employee who insulted him, and more. 'People' brings focus to Coburn's many collaborators and the monologues they helped create.

After performing 'People', Coburn is joined in conversation by Hong Kong based curator and writer Ingrid Pui Yee Chu.

Tyler Coburn returns with new plans!

🌹 29.4.2026
⌚ 7:30pm
🔗 RSVP link in bio

Join us for the release of ‘Some Monologues’, a publication that gathers fifteen years of the artist’s scripts (Wendy’s Subway, 2025). Coburn will presents a new monologue entitled 'People that draws influence from A Personal History of American Theatre (1980)', a one-person performance by the American actor and writer Spalding Gray (1941–2004).

Moving through a set of index cards bearing the names of plays he acted in, Gray told stories related to those productions, dwelling on events unfolding behind the scenes. As the order of the index cards was random, no two performances were ever the same.

In Coburn’s version, each of his cards indicates the name of a person who has a role in the book: an academic he interviewed for a project, an amorous attendee to one of his monologues, his collaborator Susan Bennett (the original voice actress of Siri), a data center employee who insulted him, and more. 'People' brings focus to Coburn's many collaborators and the monologues they helped create.

After performing 'People', Coburn is joined in conversation by Hong Kong based curator and writer Ingrid Pui Yee Chu.

Tyler Coburn returns with new plans!

🌹 29.4.2026
⌚ 7:30pm
🔗 RSVP link in bio

Join us for the release of ‘Some Monologues’, a publication that gathers fifteen years of the artist’s scripts (Wendy’s Subway, 2025). Coburn will presents a new monologue entitled 'People that draws influence from A Personal History of American Theatre (1980)', a one-person performance by the American actor and writer Spalding Gray (1941–2004).

Moving through a set of index cards bearing the names of plays he acted in, Gray told stories related to those productions, dwelling on events unfolding behind the scenes. As the order of the index cards was random, no two performances were ever the same.

In Coburn’s version, each of his cards indicates the name of a person who has a role in the book: an academic he interviewed for a project, an amorous attendee to one of his monologues, his collaborator Susan Bennett (the original voice actress of Siri), a data center employee who insulted him, and more. 'People' brings focus to Coburn's many collaborators and the monologues they helped create.

After performing 'People', Coburn is joined in conversation by Hong Kong based curator and writer Ingrid Pui Yee Chu.

Current Plans is glad to participate in the 1st edition of Paris Internationale Milan (@aaaahhhparisinternationale ) with Inkblot, a solo presentation by Hong Kong based artist Ying Bo 影波.

'Inkblot' is a mixed-media series that originated from the wreckage of the 2018 Typhoon Mangkhut, which serendipitously deposited a collection of water-damaged family albums at the artist’s doorstep. Through the chemical violence caused by the flood, these domestic artifacts suffered emulsion transfer and chromatic fusion, dissolving the boundaries of unrelated private histories.

'Inkblot' moves beyond mere representation to engage the viewer’s internal landscapes of uprooting and loss. By interweaving projected symbolism with the volatile materiality of the distorted prints, the work serves as a catalyst for a shared processing of trauma.

Paris Internationale Milan
April 18-21, 2026
Preview April 17
Palazzo Galbani, Via Fabio Filzi, 25r, Milan

The manipulation of found images and the dismantling and recombination of ideologically charged symbols and languages lie at the core of Ocean Leung’s (Hong Kong, 1983) practice.

In the exhibition, Basterd (2020) reconstructs the signage of a well-known Chinese restaurant chain, while Punch Hard Forever !! (2026) takes the form of a punching ball wrapped in a propaganda poster.In Cantonese vernacular, to call someone fun cheong is to invoke the vulgar through the mundane — a softened but unmistakable stand-in for coarser epithets.

Here, a found plastic shop sign, salvaged from a closed down restaurant, is reappropriated into a language joke. The title ‘Basterd’ echoes Tarantino's deliberate misspelling in Inglourious Basterds—an act of displacement and appropriation that tempers vulgarity while mocking pretensions of authenticity. A Cantonese joke rendered in found materials: a commentary on displacement where language, space, and identity are each subject to misplacement and reclamation.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

The manipulation of found images and the dismantling and recombination of ideologically charged symbols and languages lie at the core of Ocean Leung’s (Hong Kong, 1983) practice.

In the exhibition, Basterd (2020) reconstructs the signage of a well-known Chinese restaurant chain, while Punch Hard Forever !! (2026) takes the form of a punching ball wrapped in a propaganda poster.In Cantonese vernacular, to call someone fun cheong is to invoke the vulgar through the mundane — a softened but unmistakable stand-in for coarser epithets.

Here, a found plastic shop sign, salvaged from a closed down restaurant, is reappropriated into a language joke. The title ‘Basterd’ echoes Tarantino's deliberate misspelling in Inglourious Basterds—an act of displacement and appropriation that tempers vulgarity while mocking pretensions of authenticity. A Cantonese joke rendered in found materials: a commentary on displacement where language, space, and identity are each subject to misplacement and reclamation.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

The manipulation of found images and the dismantling and recombination of ideologically charged symbols and languages lie at the core of Ocean Leung’s (Hong Kong, 1983) practice.

In the exhibition, Basterd (2020) reconstructs the signage of a well-known Chinese restaurant chain, while Punch Hard Forever !! (2026) takes the form of a punching ball wrapped in a propaganda poster.In Cantonese vernacular, to call someone fun cheong is to invoke the vulgar through the mundane — a softened but unmistakable stand-in for coarser epithets.

Here, a found plastic shop sign, salvaged from a closed down restaurant, is reappropriated into a language joke. The title ‘Basterd’ echoes Tarantino's deliberate misspelling in Inglourious Basterds—an act of displacement and appropriation that tempers vulgarity while mocking pretensions of authenticity. A Cantonese joke rendered in found materials: a commentary on displacement where language, space, and identity are each subject to misplacement and reclamation.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.

The manipulation of found images and the dismantling and recombination of ideologically charged symbols and languages lie at the core of Ocean Leung’s (Hong Kong, 1983) practice.

In the exhibition, Basterd (2020) reconstructs the signage of a well-known Chinese restaurant chain, while Punch Hard Forever !! (2026) takes the form of a punching ball wrapped in a propaganda poster.In Cantonese vernacular, to call someone fun cheong is to invoke the vulgar through the mundane — a softened but unmistakable stand-in for coarser epithets.

Here, a found plastic shop sign, salvaged from a closed down restaurant, is reappropriated into a language joke. The title ‘Basterd’ echoes Tarantino's deliberate misspelling in Inglourious Basterds—an act of displacement and appropriation that tempers vulgarity while mocking pretensions of authenticity. A Cantonese joke rendered in found materials: a commentary on displacement where language, space, and identity are each subject to misplacement and reclamation.

IMAGINE A DEAD BLUE WHALE
INSIDE THE POCKET OF A GIANT

On view until 23.5.2026
Wed to Sat 12-7pm

This research project is granted by @creativita_contemporanea of the Italian Ministry of Culture – #MIC under the #ItalianCouncil program (2025).

Supported by the Istituto Italiano di Cultura (@iic_hongkong ), the Canadian Consulate and Stroom Den Haag (@stroom_den_haag ).

In partnership with Fondazione Morra Greco (@fondazionemorragreco), which will host off-site programs in Naples.